The Get Up Kids / Saves the Day: live in Farmingdalelive in Farmingdale (2011)live show

Reviewer Rating: 4

Contributed by: InaGreendaseBrian(others by this writer | submit your own)Published on June 10th 2011You'd think a tour with the Get Up Kids and Saves the Day would be a non-stop celebration of nostalgia. But these aren't merely cash-in reunion tours from bands who haven't recorded material in forever&ndash;the Get Up Kids recently released a new record, and Saves the Day just joined a new label, s.

You'd think a tour with the Get Up Kids and Saves the Day would be a non-stop celebration of nostalgia. But these aren't merely cash-in reunion tours from bands who haven't recorded material in forever–the Get Up Kids recently released a new record, and Saves the Day just joined a new label, setting up to release their long, long-gestating new album, Daybreak. I mean, sure...Chris Conley told the audience about buying the Get Up Kids' first 7" as a junior in high school, recording the songs to a cassette and showing it to friends to describe what "emo" was, and Jim Suptic recalled playing an Irish pub with Coalesce on Long Island in 1997. But if you came expecting a Vagrant Records anniversary show or something, you'd be disappointed. And that was still A-OK with me.

It was a refreshing change of pace to have no opening acts–simply just two all-star caliber co-headliners playing one after the other. The Crazy Donkey drew back the curtain, and Saves the Day modestly walked out on stage to raucous applause. The opening, punchy sway of "Firefly" received a mildly enthusiastic response, but the audience let loose for "Shoulder to the Wheel", climbing atop each other and bouncing around. It was here, and a closing trio of "Holly Hox, Forget Me Nots", rarity "A Drag in D Flat" and "At Your Funeral" where the crowd was the most joyous. In between, you could hear visible sighs and audible aggravation whenever Conley mentioned they'd play a new song from Daybreak (they played seven of its 11 tracks, in fact), which ranged from easy-going power-pop finger-snappers ("Deranged & Desperate") to relatively noisy dirges ("Z"). A frustrated and unmoved audience whose cries for "Hold" and "My Sweet Fracture" was still rewarded with more than half of 2001's Stay What You Are getting play, Conley's solo rendition of "Three Miles Down" (from 1997's melodic hardcore underdog Can't Slow Down), and their two best B-sides (the aforementioned "D Flat" and "Sell My Old Clothes, I'm Off to Heaven"). Hell, songs from 2003's maligned In Reverie even got big responses.

Conley newest bandmates–guitarist Arun Bali, bassist Rodrigo Palma, and former Somerset drummer Claudio Rivera–didn't recoil in the shadows, but they didn't try to overtake Conley's rightful spotlight either. Bali helped shred noise on "Z" and added a cool layer to "Can't Stay the Same", while Rivera thrashed about and drove the tempo well for faster or more jubilant fare like "The End" (whose response was surprisingly tepid) and "Shoulder to the Wheel".

If you're wondering, by the way, Conley's vocals seem to have reverted back to the higher-pitched, nasal wheeze of 2006's Sound the Alarm era. He gets a lot of backhanded compliments via fans wishing he was still 16, but he sounded 13 when he yelled, "Thank you so fucking much!"

Set list (7:31-8:53):

Firefly

Shoulder to the Wheel
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1984
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Anywhere with You
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Let It All Go

The End
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Sell My Old Clothes, I'm Off to Heaven

Dying Day
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Deranged & Desperate
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Cars & Calories

34

This Is Not an Exit
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Can't Stay the Same
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Living Without Love
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Freakish
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Eulogy

Kaleidoscope
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Z

Nightingale

Sound the Alarm
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Undress Me
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Three Miles Down
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O

Holly Hox, Forget Me Nots

A Drag in D Flat
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At Your Funeral

The crowd began to trickle out, with the venue's space opening up just a shade during the Get Up Kids' set. No one groaned when they offered up their newest fare (There Are Rules), but no one seemed visibly enthused, either. It sounded good, though, with the band's newly insistent synth tone driving nervous, dizzying cuts like "Pararelevant" and "Automatic". Of course, the celebration was evident best with songs from 1999's Something to Write Home About and 1997's Four Minute Mile, with big sing-alongs, finger-points, spastic pile-ons and drunken dancing from "Red Letter Day" to "No Love". A grinning James Dewees, busy with his other band My Chemical Romance but apparently in attendance tonight, even came on to help with "Out of Reach" and "Holiday".

The band largely remained faithful to older songs, although there was an interesting X Files moog tone for "Is There a Way Out", which made the atmosphere less harrowing and simply creepier. They did, however, receive looks of questionability and discernment when they chose to kick off their encore with a take on Blur's "Boys & Girls". "We heard this is a dance club," Matt Pryor told the decidedly non-dance-club-oriented audience. The post-punk dance beat of "Boys & Girls" actually elicited some dancing, sarcastic or otherwise, but as the four-minute song carried on (they butchered the intro a couple times, too), it would take a song as classic as "Holiday" to bring them back. It did the job, though.

I caught the Pittsburgh stop on this tour, and there was an opening band, so maybe that's why Saves the Day didn't play as long of a set as detailed here. They still played a shade over an hour, though.

Driving from Quebec City to the New Jersey show tomorrow with a bunch of friends. Looks like i'm gonna have a great time! I'm definitly curious to hear the new saves the day songs, but i would rather have more Through Being Cool though.